Grateful Dead

Blair’s Golden Road Blog - Best Covers of Dead Songs?

By Blair Jackson

My blog a couple of weeks ago about the new/retooled Persuasions of the Dead CD, on which the famous a capella giants tackled a wide variety of Grateful Dead songs, got me thinking about my favorite covers of Dead songs. Although the Dead will never match the zillions of new Beatles covers released every day, the number of Dead covers being released has increased steadily through the years, particularly since Garcia died.

The first cover a Dead song I recall hearing was folk singer Chris Smither’s version of “Friend of the Devil” on his Don’t It Drag On album back in 1972. I don’t have any figures to back it up, but I’m guessing that “Friend of the Devil” must be the Dead’s most covered song—it’s become a virtual standard in the acoustic folk-country-bluegrass world. (Has anyone actually heard the Kenny Loggins version of that song that Garcia says influenced him to slow it down post-’72? I’ve never found it.)

After Smither’s cover, however, I can recall very few other recorded versions of Dead tunes for the next decade and a half. Chris Hillman cut a nice “Ripple” on his 1982 album Morning Sky. And avant-guitar master Henry Kaiser—always an explorer of the first order—boldly put a 31-minute exploration of “Dark Star” > “The Other One,” along with the previously unreleased “Mason’s Children,” on his eclectic 1989 CD called Those Who Know History are Doomed to Repeat It. The following year, on Heart’s Desire, Kaiser and his band dialed up a live version of “Dark Star,” and then his 1995 Garcia tribute, Eternity Blue, contained still another “Dark Star,” plus a 30-minute, totally out-there voyage through “Blues for Allah” and several other Garcia-associated songs. All are good choices for you adventurous types! For more on Henry’s trip and to hear some cool tunes go here.

In 1991, an L.A.-based record and film producer named Ralph Sall assembled the first CD consisting entirely of GD covers — Deadicated, put out by the band’s label at the time, Arista Records, with proceeds benefitting a pair of nonprofit groups the Dead favored, Rainforest Action Network and Cultural Survival. The star power Sall mustered for Deadicated was impressive: 15 tracks, including such “name” performers as Los Lobos (“Bertha”; the song subsequently became a part of their regular repertoire), Elvis Costello (“Ship of Fools”), Suzanne Vega (“China Doll” and “Cassidy”), Dwight Yoakam (“Truckin’”), Indigo Girls (“Uncle John’s Band”), Warren Zevon (“Casey Jones”), Lyle Lovett (“Friend of the Devil”) and Burning Spear (“Estimated Prophet”). Two of the riskier versions were Midnight Oil’s “Wharf Rat” and a truly odd “Ripple” from Jane’s Addiction; love ’em both! Despite the diverse lineup, the album hangs together beautifully and it has survived the test of time. I put it on every couple of years and enjoy it anew each time. Too bad Sall didn’t get to make a “Volume II,” as he’d originally hoped. Unfortunately, Deadicated is out of print. Have a friend burn it for you!

But the flood of tributes really started after Jerry died. Some of them are pretty good, some are mediocre. A series of Pickin’ on the Grateful Dead CDs of bluegrass-style instrumentals have their hot moments (and poor choices). The two volumes of Fire on the Mountain: Reggae Celebrates the Grateful Dead feature an assortment of top names from the genre, including the Wailing Souls, Judy Mowatt, Toots Hibbert, the Mighty Diamonds, Dennis Brown and Gregory Isaacs. As with the Pickin’ albums, they are hit-and-miss—the occasional inspired interpretation surrounded by songs that sound like they are being unnaturally forced into reggae settings. The production on many of the tracks is cheesy and dated, as well. Still, a few winners in there.

A more unusual and, to my ears, successful musical marriage is the Celtic-Grateful Dead acoustic fusion by the Bay Area’s Wake the Dead, led by Danny Carnahan. The group has put out three excellent albums—Buckdancer’s Choice, Wake the Dead and Blue Light Cheap Hotel — that ingeniously blend traditional Irish tunes with Grateful Dead songs. So, for instance, “Scarlet Begonias” is bookended by a pair of spry reels, “Bird Song” blends with a number called “Coleman’s Cross,” and “Friend of the Devil” is preceded by fragments of “Banks of Lough Gowna” and “The Reunion.” Here and there the group also folds in bits of blues, old-time country and other styles in their acoustic mélange. I’m not sure why it works, but it does. Highly recommended! You can find out more about them here.

Another interesting anthology is the 2000 CD Stolen Roses, which was compiled by David Gans (who has recorded his own share of Dead covers through the years). My favorite track on that one is a wonderful version of “Dark Star” by the David Grisman Quintet (which you can also find on the recent 3-CD benefit set Jerry Jams & Jerry Cares, featuring a slew of mostly little known jam bands and other groups doing Dead/Garcia songs). Other cool performances on Stolen Roses include Widespread Panic’s version of “Cream Puff War,” Elvis Costello’s “Ship of Fools/Must’ve Been the Roses” medley, The Persuasions’ brilliant “Black Muddy River” and Patti Smith’s haunting take on “Black Peter,” recorded the night Jerry died.

That barely scratches the surface, of course. What are some of your favorites? For the purposes of this discussion, lets not include Grateful Dead cover bands (DSO and their ilk) or Grateful Dead band members’ solo groups.

Very cool and, for me, quite moving. The roar that goes up when people realize what's being played--wow, must've been something to be there on that night. I got a little chill up the spine... And by "Inspiration move me brightly" I had a little lump in my throat. Though I am not really a Phish fan, as I've said, I do root for them, and I know what Jerry and the Dead meant to them. At the same time, I also appreciate that they've tried very hard to distance themselves from the Dead musically... but it's obviously part of their DNA! A bit of confusion on the ending instrumental passage, but still, all in all, very well done, lads! They aimed high and totally pulled it off!

no trey can't sing it like jerry but, he puts his all into it, and we've all heard phil sing the tune for 12-13 years with phil and friends, so if we could grow accustomed to that...(just kidding, much love phil, keep on belting out the songs).

after listening to phish do it again for the first time in years, i stand by my previous statement of it being a fitting tribute.

that Phish track is on the Jerry Jams for Rex benefit CD (http://rexfoundation.org/2010/11/01/jerry-jams-for-rex/) and Brad Serling of Nugs.net tells the story well: http://rexfoundation.org/2010/11/17/the-making-of-jerry-jams/

one of the more interesting dead influenced album titles from a most unlikely source - Proof, a rap artist from detroit who had been part of eminem's crew (crew? i guess that's what they'd call it?), known as D-12. the album is titled "searching for jerry garcia."

While recording his solo debut, D12 rapper Proof found inspiration in an unlikely person — the late jam rocker Jerry Garcia: "I was watching Searching for Bobby Fisher and Mark Hicks (D12's manager) put in a Jerry Garcia documentary," says Proof, who also serves as Eminem's right-hand rapper. "In this movie, he talked about never doing the same show twice. I did that to D12 sets overseas. Plus, he didn't care about record sales — he just wanted to make fans happy."

In a nod to their similarities, Proof, born DeShaun Holton, named his debut Searching for Jerry Garcia. The album was released August 9, 2005, the tenth anniversary of Garcia's death, on Proof's independent label, Iron Fist Records. "I called his estate, and I couldn't believe they gave me permission [to use the name]!" says the rapper. "They didn't ask for money. So I'm like a disciple, preaching the gospel of Jerry Garcia. The dude is phenomenal."
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also, someone mentioned phish covering terrapin station earlier, and it was done at a show i was at in virginia beach in 1998. aug 9, 1998 in fact. i believe it was the first time the band had played on that date since jerry's passing, and there was much speculation on the lot about what type of, if any, tribute the band might pay. throughout the (smoking) show, nothing was said or played that would indicate any type of rocognition of the date, that is until the encore when the band stepped out and began strumming those familiar chords to that special song we all love so much. The crowd was ecstatic, some were in tears, all were smiling, and screaming with raised spirits. it was a fitting tribute to say the least.

When the Pop-O-Pies first surfaced, it made a great litmus test: you could play their punk rock version of Truckin' for people, and their reaction told you a lot. Some people laughed and laughed, and others thought it was sacrilege. This was the early 80s, when punk was still scary. Supposedly the Grateful Dead thought the Truckin' single was funny. Too bad the Pies never opened for them on New Year's Eve...

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